Abstract
The article examines costumes in the context of the Noh theater community. The author proposes an understanding of these costumes as part of theatrical practice, as well as a means of sociocultural self-identification, and analyzes representative samples; the most typical motifs, compositional schemes, design approaches are determined. The article also focuses on accessories that make up the ensemble, both for the stage (mask, fan) and off-stage (netsuke, fan, obidome).
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